531:
443:
In the first part of his poetry collection, Catullus uses the
Phalaecian hendecasyllable as given above in 41 poems. In addition, in two of his poems (55 and 58b) Catullus uses a variation of the metre, in which the 4th and 5th syllables can sometimes be contracted into a single long syllable. In
960:, primary stresses on the fourth and tenth syllables, and feminine endings on both half-lines. Although the form can accommodate a fully iambic line, there is no such tendency in practice, word stresses falling variously on any of the initial syllables of each half-line.
650:. Its defining feature is a constant stress on the tenth syllable, so that the number of syllables in the verse may vary, equaling eleven in the usual case where the final word is stressed on the penultimate syllable. The verse also has a stress preceding the
780:, and some verse forms use a mixture of hendecasyllables and shorter lines. From the early 16th century onward, hendecasyllables are often used without a strict system, with few or no rhymes, both in poetry and in drama. This is known as
695:, which rely more heavily on a pleasant rhythm for effect, tend toward a stricter eleven-syllable format. As a novelty, lines longer than twelve syllables can be created by the use of certain verb forms and affixed enclitic pronouns (
710:) and may be a greater or lesser hendecasyllable. This line is the simplest, commonest and most musical but may become repetitive, especially in longer works. Lesser hendecasyllables often have an accent on the seventh syllable (
985:
The Polish hendecasyllable is often combined with an 8-syllable line: 11a/8b/11a/8b. Such a stanza was used by
Mickiewicz in his ballads, as in the following example (with formal equivalent paraphrase):
702:
Additional accents beyond the two mandatory ones provide rhythmic variation and allow the poet to express thematic effects. A line in which accents fall consistently on even-numbered syllables (
792:, written around 1517 and published in 1525 (with formal equivalent paraphrase which mirrors the original's syllabic counts, varied caesurae, and line- and hemistich-final stress profiles):
1150:). This is due to Portuguese prosody considering verses to end at the last stressed syllable, thus the aforementioned verses are effectively decasyllabic according to Portuguese scansion.
1479:
718:) and its less pronounced rhythm is considered particularly appropriate for representing dialogue. Another kind of greater hendecasyllable has an accent on the third syllable (
681:
There is a strong tendency for hendecasyllabic lines to end with feminine rhymes (causing the total number of syllables to be eleven, hence the name), but ten-syllable lines (
351:
This line is named after
Phalaecus, a minor poet probably of the 4th century BC, who used it in epigrams; though he did not invent it, since it had earlier been used by
1294:("The Reemergence of the Noose") have published recent examples. In English, which lacks phonemic length, poets typically substitute stressed syllables for
911:) was very popular in Polish poetry, especially in the seventeenth and eighteenth centuries, owing to strong Italian literary influence. It was used by
243:
1187:
Spanish dramatists often use hendecasyllables in tandem with shorter lines like heptasyllables, as can be seen in
Rosaura's opening speech from
591:
wrote many of the stanzas subsequently named after her, for example (with formal equivalent, substituting
English stress for Greek length):
674:
482:
Poem 58b is thought by some scholars to be a fragment which was formerly part of this one; although others think it an independent poem.
1302:. Tennyson, however, attempted to maintain the quantitative features of the meter (while supporting them with concurrent stress) in his
664:
370:. An example from Catullus is the first poem in his collection (with formal equivalent, substituting English stress for Latin length):
265:
236:
1595:
938:
1688:
1514:
1459:
1413:
1134:
326:, that is, a syllable either long or short. The three Aeolic hendecasyllables (with base and choriamb in bold) are:
979:
737:
It is considered improper for the lesser hendecasyllable to use a word accented on its antepenultimate syllable (
17:
514:
Here the Aeolic base is truncated to a single anceps. This meter typically appears as the first two lines of an
1339:
264:) is a line of eleven syllables. The term may refer to several different poetic meters, the older of which are
229:
789:
1785:
1765:
1248:
1188:
292:
In classical poetry, "hendecasyllable" or "hendecasyllabic" may refer to any of three distinct 11-syllable
1274:
The term "hendecasyllable" most often refers to an imitation of Greek or Latin metrical lines, notably by
1613:
1057:) is a common meter in Portuguese poetry. The best-known Portuguese poem composed in hendecasyllables is
1279:
745:, which delays the caesura until after the sixth syllable, is not considered a valid hendecasyllable.
1668:
1261:
1170:
than in
Italian or Portuguese, but it is commonly used with Italianate verse forms like sonnets and
1882:
1795:
281:
72:
1887:
571:
Again, the Aeolic base is truncated. This meter typically appears as the first three lines of a
1651:
Compare: Summary
Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 398.
1146:), even when the work in question uses overwhelmingly feminine rhymes (as is the case with the
87:
1636:
1813:
1635:
Alamanni, Luigi; Rucellai, Giovanni (1804). Bianchini, Giuseppe Maria; Titi, Roberto (eds.).
1291:
930:
880:
689:) are encountered as well. Lines of ten or twelve syllables are more common in rhymed verse;
33:
1730:
748:
Most classical
Italian poems are composed in hendecasyllables, including the major works of
1454:(Revised ed.). Indianapolis: Hackett Publishing Company, Inc. pp. 29–34, 97–102.
1447:
1401:
92:
296:
meters, used first in
Ancient Greece and later, with little modification, by Roman poets.
8:
1058:
1050:
934:
921:
1253:
1193:
1680:
753:
580:
197:
167:
122:
82:
52:
1748:
1694:
1684:
1673:
1510:
1455:
1409:
1408:(Revised ed.). Indianapolis: Hackett Publishing Company, Inc. pp. 129–132.
1335:
1175:
916:
949:
in this measure. The Polish hendecasyllable is widely used when translating
English
946:
1664:
1569:
1159:
888:
757:
639:
212:
192:
147:
1809:
1769:
1713:
1348:
1275:
1033:
942:
912:
904:
749:
207:
202:
182:
177:
77:
62:
57:
1443:
1397:
1376:
1167:
926:
761:
647:
572:
554:
547:
497:
335:
277:
152:
127:
1698:
1063:
530:
1876:
1789:
1303:
691:
515:
491:
269:
172:
132:
47:
42:
978:
A popular form of Polish literature that employs the hendecasyllable is the
1371:
1366:
1361:
1283:
543:
293:
142:
107:
67:
1754:. Translated by Fanshawe, Sir Richard. London: Centaur Press. p. 59.
1287:
1180:
1171:
1142:
In Portuguese, the hendecasyllable meter is often called "decasyllable" (
956:
The eleven-syllable line is normally a line of 5+6 syllables with medial
950:
769:
471:
137:
883:(1515) is in blank hendecasyllables. Later examples can be found in the
1343:
862:
765:
405:
731:
659:
217:
162:
1641:. Milan: Società Tipografica de'Classici Italiani. pp. 239–240.
723:
654:, on either the fourth or sixth syllable. The first case is called
584:
363:
356:
304:
157:
117:
112:
102:
420:
is by far the most common in Catullus, and in later poets such as
957:
872:
777:
651:
576:
535:
437:
425:
421:
416:
The aeolic base (i.e., the first two syllables of the line) with
367:
1638:
La Coltivazione di Luigi Alamanni e Le Api di Giovanni Rucellai
773:
588:
539:
352:
323:
187:
444:
poem 55 there are twelve decasyllables and ten normal lines:
273:
1306:, the first two lines of which are Alcaic hendecasyllables:
1334:
Occasionally "hendecasyllable" is used to denote a line of
1286:("For Once Then Something"). Contemporary American poets
734:
effect and gives the poem a sense of speed and fluidity.
1441:
1395:
1509:(2nd ed.). London: St. Martin's Press. p. 1.
1476:
A Dictionary of Greek and Roman biography and mythology
837:
Who, with their tongues | which lately sipped at honey,
428:
was the only one used, but occasionally Catullus uses
839:
Buzzed forth in the clear air | this earnest message:
1784:
1764:
1240:Unreined, uncurbed, to plunge thee down the steep?
1747:
1746:Camões, Luís de (1963). Bullough, Geoffrey (ed.).
1672:
1614:"A Jar of Honey from Mount Hybla [No. XI]"
1232:Fish without scales, bird without shifting plumes,
833:Sleep ravished me | in the first light of morning,
614:Ah, that man who's sitting across from you, there,
393:Freshly burnished with pumice stone to fine sheen?
299:Aeolic meters are characterized by an Aeolic base
843:And more five hundred) | beguiles us with singing
362:The Phalaecian hendecasyllable was a favorite of
1874:
1735:. Lisbon: Antonio Goçaluez impressor. p. 1.
1718:(in Polish). Lipsk: F. A. Brockhaus. p. 10.
1634:
827:While your delightful gifts | I aimed at singing
697:"Ottima è l'acqua; ma le piante abbeverinosene."
397:Think my gobbledygook was, well, was something.
1228:Thou that does run, the wingèd winds exceeding,
1105:Through Seas which never Ship has sayld before;
658:, or lesser hendecasyllable, and has the first
1659:
1657:
841:"O friendly soul who | (after thousand summers
463:that you should show us where your lair is...
436:as in lines 2 and 4 above. There is usually a
891:, where hendecasyllables are alternated with
616:Leaning in and listening to your sweet voice,
329:
237:
1236:Of natural instinct, why to this wild cleft,
1114:'Mongst Nations, under other Stars, acquir'd
1107:Who (brave in action, patient in long Toyle,
994:Ktokolwiek będziesz w Nowogródzkiej stronie,
391:To whom dedicate this, my charming new book,
1774:. Strasbourg: J.H.E. Heitz. pp. 13–14.
1654:
1109:Beyond what strength of humane nature bore)
1020:Once come, remember to rein in your horses:
440:in the line after the 5th or 6th syllable.
1818:. Boston: Ticknor and Fields. p. 200.
1711:
1119:A modern Scepter which to Heaven aspir'd.
831:Sweet little seraphim | of grassy margins,
612:He, it seems to me, is completely godlike:
525:
244:
230:
1437:
1435:
1433:
1431:
1429:
1427:
1425:
1352:: "A thing of beauty is a joy for ever".
847:Abandon rime | and its rebounding echo!"
806:Preso dal sonno, in sul spuntar dell'Alba
683:"Ciò che 'n grembo a Benaco star non può"
542:'s "Fragment 5", a poem using one of the
485:
1808:
1683:. Oxford: Clarendon Press. p. 220.
1663:
1238:The labyrinth of naked rocks, dost sweep
829:In lofty rime | O little vestal virgins,
810:E dalla lingua, onde s'accoglie il mele,
672:, or greater hendecasyllable, and has a
529:
461:We beg, if perhaps it is not a nuisance,
284:and used in medieval and modern poetry.
1389:
1311:O mighty-mouth'd inventor of harmonies,
1001:Wjechawszy, pomnij zatrzymać twe konie,
845:Our industrious toil | our balmy study…
835:And I beheld a chorus | of your people,
741:) for its mid-line stress. A line like
575:, though it was also sometimes used in
14:
1875:
1846:Dizionario di retorica e di stilistica
1745:
1728:
1422:
1313:O skill'd to sing of Time or Eternity,
1103:Past ev'n beyond the Trapobanian-Isle,
1075:As armas, & os barões assinalados,
818:E le nostre fatiche, e i nostri studi,
743:"Più non sfavìllano quegli òcchi néri"
687:"Ergasto mio, perché solingo e tacito"
366:; it was also very frequently used by
1839:Nozioni ed esempi di metrica italiana
1588:
1504:
1101:Who from the Western Lusitanian shore
1083:Em perigos, & guerras esforçados,
941:. The greatest Polish Romantic poet,
820:Fuggi le rime, e'l rimbombar sonoro.
812:Sciolsono in chiara voce este parole:
808:M'apparve un coro della vostra gente,
720:"Se Mercé fosse amìca a' miei disìri"
704:"Al còr gentìl rempàira sèmpre amóre"
454:dēmōnstrēs ubi sint tuae tenebrae...
276:) poetry, and the newer of which are
1624:. Open Court Publishing Co: 390–395.
1611:
1452:The Meters of Greek and Latin Poetry
1406:The Meters of Greek and Latin Poetry
1323:Milton, a name to resound for ages;
1199:
1085:Mais do que prometia a força humana.
1079:Por mares, nunca de antes navegados,
1069:
1013:Visitor passing Novogrudok's courses
988:
794:
593:
452:Ōrāmus, sī forte non molestum (e)st,
446:
395:To Cornelius! you who always used to
372:
1798:. London: Henry S. King. p. 7.
1675:A History of European Versification
1219:Te desbocas, arrastras y despeñas?
1207:Que corriste parejas con el viento,
814:O spirto amico, che dopo mill'anni,
800:Mentr'era per cantare i vostri doni
714:). Such a line is called dactylic (
24:
1867:Mały przewodnik po wierszu polskim
1826:
1602:(in Italian). Accessed March 2013.
1318:God-gifted organ-voice of England,
1089:Novo Reino, que tanto sublimaram.
1081:Passaram, ainda alem da Taprobana,
871:Like other early Italian-language
804:Vaghe Angelette delle erbose rive,
802:Con alte rime, o Verginette caste,
712:"fàtta di giòco in figùra d'amóre"
25:
1899:
1498:
1211:Pájaro sin matiz, pez sin escama,
1077:Que da Occidental praya Lusitana,
764:. The rhyme systems used include
384:meās ess(e) aliquid putāre nūgās
1831:
816:E cinque cento, rinovar ti piace
625:—Sappho: Fragment 31, lines 1-4
382:Cornēlī, tibi: namque tū solēbās
1859:
1802:
1778:
1758:
1739:
1722:
1705:
1645:
1628:
1605:
1298:, and unstressed syllables for
1226:Wild hippogriff swift speeding,
939:Stanisław Herakliusz Lubomirski
601:ἔμμεν' ὤνηρ, ὄττις ἐνάντιός τοι
599:φαίνεταί μοι κῆνος ἴσος θέοισιν
518:. (For an English example, see
378:Cui dōnō lepidum novum libellum
268:and used chiefly in classical (
27:Poetic line of eleven syllables
1768:(1905). Gröber, Gustav (ed.).
1679:. Translated by Smith, G. S.;
1562:
1549:
1536:
1523:
1485:
1468:
603:ἰσδάνει καὶ πλάσιον ἆδυ φονεί-
380:āridā modo pūmic(e) expolītum?
13:
1:
1382:
1329:Tennyson: "Milton", lines 1-4
1215:Natural, al confuso laberinto
1087:Entre gente remota edificaram
1044:
1025:View the lake in admiration.
1018:In Płużyn forest's umbration,
1006:Byś się przypatrzył jezioru.
790:Giovanni di Bernardo Rucellai
685:) and twelve-syllable lines (
1612:Hunt, Leigh (October 1844).
1505:Quinn, Kenneth, ed. (1973).
1230:Bolt which no flash illumes,
646:) is the principal metre in
519:
287:
7:
1853:Manuale di metrica italiana
1786:Calderón de la Barca, Pedro
1766:Calderón de la Barca, Pedro
1355:
1174:(as found, for example, in
1067:, which begins as follows:
903:The hendecasyllabic metre (
865:'s blank verse translation
730:). This sort of line has a
10:
1904:
1841:, Bologna, R. Pàtron, 1966
1796:Mac-Carthy, Denis Florence
1600:Enciclopedia dell'Italiano
1342:, as in the first line of
1269:
1153:
633:
618:Charmed by your laughter.
489:
340:hendecasyllabus phalaecius
330:Phalaecian hendecasyllable
1848:, Milano, Mondadori, 1978
1712:Mickiewicz, Adam (1852).
1262:Denis Florence Mac-Carthy
898:
597:
559:hendecasyllabus sapphicus
1865:Wiktor Jarosław Darasz,
1855:, Firenze, Sansoni, 1990
1729:Camões, Luís de (1572).
1594:Claudio Ciociola (2010)
1203:
1073:
992:
963:o o o S s | o o o o S s
798:
678:as the first hemistich.
546:hendecasyllabics in its
502:hendecasyllabus alcaicus
450:
376:
318:= a short syllable, and
73:Latin rhythmic hexameter
1234:And brute awhile bereft
1209:¿Dónde, rayo sin liama,
1166:) is less pervasive in
999:Do Płużyn ciemnego boru
668:; the second is called
526:Sapphic hendecasyllable
1667:(1996). Smith, G. S.;
1474:William Smith (1873).
1332:
1224:
1163:
1099:above the vulgar File,
1094:
1054:
1036:: "Świteź", lines 1-4
1011:
908:
825:
784:. An early example is
670:endecasillabo a maiore
656:endecasillabo a minore
643:
610:
579:verse, for example by
558:
550:
538:manuscript preserving
501:
486:Alcaic hendecasyllable
459:
389:
339:
88:Metres of Roman comedy
1491:Raven, D. S. (1965).
1448:Rosenmeyer, Thomas G.
1402:Rosenmeyer, Thomas G.
1308:
1290:("Lucid Waking") and
1217:Destas desnudas peñas
1158:The hendecasyllable (
1130:, Canto I, lines 1-8
1049:The hendecasyllable (
975:=unstressed syllable
931:Sebastian Grabowiecki
881:Gian Giorgio Trissino
638:The hendecasyllable (
533:
490:Further information:
34:Greek and Latin metre
1669:Holford-Strevens, L.
1618:Ainsworth's Magazine
1529:D. S. Raven (1965),
1213:Y bruto sin instinto
1135:Sir Richard Fanshawe
971:=stressed syllable,
909:jedenastozgłoskowiec
706:) is called iambic (
93:Trochaic septenarius
1837:Raffaele Spongano,
1815:Enoch Arden, &c
1681:Tarlinskaja, Marina
1507:Catullus: The Poems
1495:, pp. 177, 180–181.
1442:Halporn, James W.;
1396:Halporn, James W.;
1205:Hipogrifo violento,
935:Wespazjan Kochowski
922:Jerusalem Delivered
314:= a long syllable,
1097:Armes, and the Men
754:Francesco Petrarca
722:) and is known as
551:
282:accentual-syllabic
198:Resolution (meter)
168:Anaclasis (poetry)
123:Asclepiad (poetry)
83:Saturnian (poetry)
53:Dactylic hexameter
1851:Mario Pazzaglia,
1844:Angelo Marchese,
1715:Ballady i romanse
1336:iambic pentameter
1267:
1266:
1176:Alonso de Ercilla
1140:
1139:
1042:
1041:
917:Piotr Kochanowski
869:
868:
739:parola sdrucciola
631:
630:
480:
479:
414:
413:
254:
253:
16:(Redirected from
1895:
1820:
1819:
1810:Tennyson, Alfred
1806:
1800:
1799:
1794:. Translated by
1782:
1776:
1775:
1771:La vida es sueño
1762:
1756:
1755:
1753:
1743:
1737:
1736:
1726:
1720:
1719:
1709:
1703:
1702:
1678:
1661:
1652:
1649:
1643:
1642:
1632:
1626:
1625:
1609:
1603:
1592:
1586:
1585:
1583:
1581:
1566:
1560:
1555:Fordyce (1961).
1553:
1547:
1542:Fordyce (1961).
1540:
1534:
1533:(Faber), p. 139.
1527:
1521:
1520:
1502:
1496:
1489:
1483:
1472:
1466:
1465:
1439:
1420:
1419:
1393:
1330:
1322:
1317:
1254:La vida es sueño
1200:
1194:La vida es sueño
1118:
1113:
1070:
1024:
1017:
1005:
998:
989:
919:(who translated
889:Giacomo Leopardi
795:
788:("the bees") by
758:Ludovico Ariosto
662:equivalent to a
594:
447:
435:
431:
419:
373:
321:
317:
313:
309:
302:
246:
239:
232:
213:Arsis and thesis
193:Biceps (prosody)
148:Galliambic verse
30:
29:
21:
1903:
1902:
1898:
1897:
1896:
1894:
1893:
1892:
1883:Types of verses
1873:
1872:
1862:
1834:
1829:
1827:Further reading
1824:
1823:
1807:
1803:
1783:
1779:
1763:
1759:
1744:
1740:
1727:
1723:
1710:
1706:
1691:
1665:Gasparov, M. L.
1662:
1655:
1650:
1646:
1633:
1629:
1610:
1606:
1596:"Endecasillabo"
1593:
1589:
1579:
1577:
1570:"Phainetai Moi"
1568:
1567:
1563:
1554:
1550:
1541:
1537:
1528:
1524:
1517:
1503:
1499:
1490:
1486:
1473:
1469:
1462:
1444:Ostwald, Martin
1440:
1423:
1416:
1398:Ostwald, Martin
1394:
1390:
1385:
1358:
1340:feminine ending
1331:
1328:
1325:
1320:
1319:
1315:
1314:
1312:
1276:Alfred Tennyson
1272:
1242:
1239:
1237:
1235:
1233:
1231:
1229:
1227:
1221:
1218:
1216:
1214:
1212:
1210:
1208:
1206:
1156:
1121:
1116:
1115:
1111:
1110:
1108:
1106:
1104:
1102:
1100:
1091:
1088:
1086:
1084:
1082:
1080:
1078:
1076:
1047:
1034:Adam Mickiewicz
1027:
1022:
1021:
1019:
1015:
1014:
1008:
1003:
1002:
1000:
996:
995:
976:
967:=any syllable,
945:, set his poem
943:Adam Mickiewicz
913:Jan Kochanowski
901:
849:
846:
844:
842:
840:
838:
836:
834:
832:
830:
828:
822:
819:
817:
815:
813:
811:
809:
807:
805:
803:
801:
636:
620:
617:
615:
613:
607:
604:
602:
600:
569:
548:Sapphic stanzas
528:
512:
494:
488:
465:
462:
456:
453:
433:
429:
417:
399:
396:
394:
392:
386:
383:
381:
379:
349:
332:
319:
315:
311:
307:
300:
290:
262:hendecasyllabic
258:hendecasyllable
250:
203:Brevis brevians
183:Brevis in longo
178:Metron (poetry)
98:Hendecasyllable
78:Iambic trimeter
63:Alcmanian verse
58:Elegiac couplet
28:
23:
22:
18:Hendecasyllabic
15:
12:
11:
5:
1901:
1891:
1890:
1888:Sonnet studies
1885:
1871:
1870:
1869:, Kraków 2003.
1861:
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1484:
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1381:
1380:
1379:
1377:Dodecasyllable
1374:
1369:
1364:
1357:
1354:
1326:
1309:
1304:Alcaic stanzas
1292:Patricia Smith
1271:
1268:
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1243:
1222:
1168:Spanish poetry
1155:
1152:
1138:
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1059:Luís de Camões
1055:hendecassílabo
1046:
1043:
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1039:
1037:
1029:
1028:
1009:
982:: 11/11/11/5.
980:Sapphic stanza
962:
927:Torquato Tasso
900:
897:
867:
866:
861:—adapted from
859:
851:
850:
823:
762:Torquato Tasso
648:Italian poetry
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632:
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621:
608:
573:Sapphic stanza
563:
527:
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303:followed by a
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55:
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26:
9:
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1832:Italian texts
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1690:0-19-815879-3
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1516:0-333-01787-0
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1463:
1461:0-87220-243-7
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1415:0-87220-243-7
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858:, lines 1-11
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782:verso sciolto
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692:versi sciolti
688:
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653:
649:
645:
644:endecasillabo
641:
627:
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623:
619:
609:
606:
605:σας ὐπακούει
596:
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582:
578:
574:
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562:
560:
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541:
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521:
517:
516:Alcaic stanza
510:
505:
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492:Odes (Horace)
483:
476:
474:", lines 1-2
473:
469:
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410:
408:", lines 1-4
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270:Ancient Greek
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256:In poetry, a
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173:Metrical foot
171:
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161:
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133:Alcaic stanza
131:
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119:
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111:
109:
106:
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81:
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48:Latin prosody
46:
44:
43:Greek prosody
41:
40:
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38:
35:
32:
31:
19:
1866:
1860:Polish texts
1852:
1845:
1838:
1814:
1804:
1790:
1780:
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1749:
1741:
1731:
1724:
1714:
1707:
1674:
1647:
1637:
1630:
1621:
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1607:
1599:
1590:
1578:. Retrieved
1574:www.stoa.org
1573:
1564:
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1538:
1530:
1525:
1506:
1500:
1492:
1487:
1475:
1470:
1451:
1405:
1391:
1372:Decasyllable
1367:Octosyllable
1362:Hexasyllable
1347:
1333:
1310:
1299:
1295:
1284:Robert Frost
1273:
1252:
1225:
1204:
1192:
1186:
1179:
1164:endecasílabo
1157:
1147:
1143:
1141:
1127:
1096:
1095:
1074:
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1048:
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993:
984:
977:
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669:
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611:
598:
570:
565:
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513:
508:
495:
481:
470:—Catullus: "
460:
451:
442:
415:
404:—Catullus: "
390:
377:
361:
350:
345:
333:
298:
291:
266:quantitative
261:
257:
255:
208:Porson's Law
143:Anacreontics
108:Aeolic verse
97:
68:Archilochian
1750:The Lusiads
1732:Os Lusiadas
1531:Latin Metre
1493:Latin Metre
1288:Annie Finch
1181:La Araucana
1172:ottava rima
1144:decassílabo
1128:Os Lusíadas
951:blank verse
854:—Rucellai:
472:Catullus 55
346:× × – u u –
260:(sometimes
138:Ionic metre
1877:Categories
1699:1027190450
1383:References
1344:John Keats
1051:Portuguese
1045:Portuguese
877:Sophonisba
863:Leigh Hunt
766:terza rima
728:anapestico
675:settenario
522:, below.)
406:Catullus 1
348:u – u – –
1559:, p. 226.
1546:, p. 225.
1480:Phalaecus
1280:Swinburne
1126:—Camões:
893:settenari
873:tragedies
732:crescendo
724:anapestic
716:dattilico
660:hemistich
566:× – u u –
509:× – u u –
288:Classical
218:Catalexis
163:Lekythion
1812:(1864).
1788:(1873).
1671:(eds.).
1557:Catullus
1544:Catullus
1450:(1980).
1404:(1980).
1356:See also
1349:Endymion
1327:—
1260:—trans.
1257:I.i.1-8
1249:Calderón
1189:Calderón
1178:'s epic
1133:—trans.
708:giambico
665:quinario
585:Boethius
520:§English
507:× – u –
364:Catullus
357:Anacreon
310:; where
305:choriamb
278:syllabic
158:Dochmiac
118:Glyconic
113:Choriamb
103:Choliamb
1338:with a
1270:English
1160:Spanish
1154:Spanish
1148:Lusiads
1064:Lusiads
958:caesura
947:Grażyna
778:canzone
652:caesura
640:Italian
634:Italian
577:stichic
536:papyrus
438:caesura
426:Martial
422:Statius
368:Martial
308:– u u –
1791:Dramas
1697:
1687:
1580:2 July
1513:
1458:
1412:
1321:
1316:
1282:, and
1117:
1112:
1023:
1016:
1004:
997:
905:Polish
899:Polish
875:, the
856:Le Api
786:Le Api
774:sonnet
770:ottava
760:, and
589:Sappho
581:Seneca
568:u – –
564:– u –
544:Aeolic
540:Sappho
353:Sappho
324:anceps
294:Aeolic
188:Anceps
1576:. n.d
1300:short
885:Canti
750:Dante
555:Latin
498:Latin
336:Latin
322:= an
274:Latin
1695:OCLC
1685:ISBN
1582:2021
1511:ISBN
1456:ISBN
1410:ISBN
1296:long
937:and
776:and
583:and
511:u –
424:and
359:.
355:and
272:and
1346:'s
1191:'s
1184:).
929:),
925:by
887:of
879:of
699:).
561:):
504:):
434:– u
432:or
430:u –
418:– –
342:):
301:× ×
280:or
1879::
1693:.
1656:^
1620:.
1616:.
1598:,
1572:.
1478::
1446:;
1424:^
1400:;
1278:,
1251::
1197::
1162::
1061:'
1053::
953:.
933:,
915:,
907::
895:.
772:,
768:,
756:,
752:,
642::
587:.
557::
534:A
500::
338::
1701:.
1622:6
1584:.
1519:.
1482:.
1464:.
1418:.
1247:—
1032:—
973:s
969:S
965:o
726:(
553:(
496:(
334:(
320:×
316:u
312:–
245:e
238:t
231:v
20:)
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